The Grand Budapest Hotel

This playful coloring book is highly original in Wes Anderson’s traditional fashion. The fast-paced narrative tells an engaging story about interesting characters, who shine due to the brilliant actors portraying cast. I’m glad the film succeeded commercially even in US cinemas, because its unique filmmaker deserves it. (04/04/2014)

It all relies completely and solely on Wes Anderson’s direction. He manages to sell both special stabilization and an absurd story, but without him it’s “just" a tried and tested mishmash of (sometimes more, sometimes less) funny scenes. It’s not a boring movie, it’s playful, lively and has excellent actors. The problem is that we find innovation only in the trimmings, but not on the inside. Movie magic hiding yet another empty ode to an incredible life that just isn’t that entertaining anymore. (23/07/2015)

I had fun, I thought some of the scenes were brilliantly conceived. It had pacing and very fitting music. The acting was very good and Fiennes' pronunciation was simply pleasing to my ear. Although there is a bitter story beneath the veneer of comedy, I enjoyed it and left the cinema satisfied and amused all over again at some of the lines. The only thing that bothered me a little was the empty feeling at the end, but I guess it was meant to be. A weaker 4 stars, and I can definitely recommend it for viewing. (15/03/2014)

The cardboard world of Anderson's childish fantasy hooked up with a script someone dug up in Alfred Hitchcock’s forgotten archives, and I’ve definitively succumbed to this fool whose films I both liked and loathed at the same time. While it doesn't really have human emotions, but rather forcefully screwed-on tremors based on the situation the characters are in at the time, this thriller ride is as tense as anything else. The elevator scene at the end and the subsequent shootout in the gallery are both scenes that few people can really film today. PS: Most directorial aces would sell their souls for this casting. (17/03/2014)

At the previous stop in Moonrise Kingdom, I was starting to worry that Wes Anderson was only running on autopilot. Fortunately, I was mistaken. This conservative man has started building his own worlds again, and he enchants so powerfully that I can't help but be amazed. From camera-charming scenes (the museum), he transitions to grotesque ones (the Winter Games), and just a few seconds after what seemed like a harmless moment, the blood unexpectedly freezes in my veins. And despite the omnipresent optimistic atmosphere, his beloved accommodations have such a strong nostalgia for old times that it hurts my heart several times. It falls just short of the highest rating due to a few plot surprises, but that doesn't change how shocked and fascinated I remain. Because every time it seems like this bumpy cable car must inevitably stop, a welcome familiar face appears and we keep going. (12/01/2015)